Matching Items (83)
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- All Subjects: Film
- All Subjects: Creative Project
- Creators: School of Film, Dance and Theatre
- Creators: Miller, April
- Status: Published
DescriptionA short film about a mother and a daughter.
ContributorsJun, Seo-Young (Author) / Taylor, Philip (Thesis director) / Bernstein, Gregory (Committee member) / Clay, Anne Safiya (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
Description
Film is not about the story one tells, but rather the manner in which that story is told. Most films only rely on the plot to progress and to move the story forward. This leaves all the other aspects of a film to remain unchanged. However, a truly cohesive film is one in which all the aspects of a film (plot, cinematography, editing, sound, music) progress together in the same direction. By having all the aspects compliment each other and change together, the impact of a film on an audience is, in turn, much greater. With my film, Common Tongue, I developed a progression for each aspect to follow throughout the course of the film. As a result, no aspect of the film remains static and the impact on the viewer is more everlasting.
ContributorsLien, Erik (Author) / Bradley, Christopher (Thesis director) / Cutrara, Daniel (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-12
Description
I argue that a morally heavy, poorly researched, emotionally powerful piece of non-fiction media with complex subject matter shown to an ill-equipped audience is unethical. I then evaluate methods of avoiding unethical situations from the perspective of media creators. I conclude by calling for a strictly diligence based ratings board anchored in the professional guilds of the entertainment industry.
ContributorsBroderick, Nathan Andrew (Author) / Maday, Gregg (Thesis director) / Watson, Jeffrey (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-12
Description
Today's prison industrial complex in the United States often dehumanizes inmates simply because they are criminals. Members of the free society are generally too far removed from the inside of prisons that most people do not see the harsh and cruel conditions for and treatment of prisoners. As a Dance and Justice Studies major at Arizona State University, I was curious about how to intertwine my interests in dance and justice. This paper chronicles my exploration of adding a human rights issue to my dance practice through choreographing a solo dance performance based on Cleve Foster's unusual experience on death row. Research on theories of prison and punishment in American society combined with physical research in the dance studio enabled me to create a solo performance that shed light on the inhumane conditions for and treatment of prison inmates in today's society. Through the process, I found that some elements of my dance practice stayed the same, while others changed. This informed me of what continuously remains important to me, while allowing me to expand my personal dance practice. I ultimately discovered a bridge between my two passions, dance and justice, and learned a meaningful way to convey a contemporary social justice issue to the general public.
ContributorsKerr, Elena Marie (Author) / Schupp, Karen (Thesis director) / Vissicaro, Pegge (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Social Transformation (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
There exists a gendered difference in how sports films portray female protagonist athletes. This creative project closely examines scenes from four films, Bend It Like Beckham, Million Dollar Baby, Girlfight and Whip It, that collectively represent four gendered themes that are present within the female protagonist sport film subgenre. Each film provides representative examples for themes of exceptionalism, the explicit presence of gender or sexuality, paternal or romantic relationships with male characters, and the punishment or containment of the female athlete. These themes are then analyzed for their presence and meaning in the film genre, including how existing heteronormative film structures are present in female protagonist sport films and how such ideas are reflections of wider societal values. This exposes how the continued use of such heteronormative themes perpetuates stereotypes of female athleticism. After understanding how these themes take shape and what they mean for the genre, this paper then highlights examples of an emergent more feminist genre, promotes alternative filmmaking methods and progressive change to the portrayal of female athletes in sport film.
ContributorsMogytych, Sarah (Author) / Symonds, Adam (Thesis director) / Miller, April (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / Historical, Philosophical & Religious Studies, Sch (Contributor) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This paper examines creative process and performance as a method of research for understanding self-in-context through the lens of my own artistic research for “Dress in Something Plain and Dark,” a project exploring my relationship as a woman to Mennonite religious and cultural identity, spirituality, and dance. Situating my artistic work in relationship to the fields of creative autoethnography, queer and transborder performance art, and somatic dance practice, I discuss the distinctions and commonalities of approach, methods, and practice of artists working in these fields, and the shared challenges of marginalization, translation, and contextualization. In response to these challenges, and the inadequacy of linear, Western, individualistic and mechanistic frameworks to address them, I draw from the ethnographic work of de la Garza, (formerly González, 2000) to seek a “creation-centered” ontological framework that the artist-researcher-performer may use to understand and contextualize their work. I offer the tree as an ontology to understand the organic, emergent nature of creative process, the stages of growth and seasonal cycles, and the structural parts that make up the creative and performative processes, and illustrate this model through a discussion of the growth of “Dress in Something Plain and Dark,” as it has emerged over two cyclical “seasons” of maturation.
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces alongside each other. Negotiations is not a showcase of three individual works, but a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents here, and we encourage readers to view the performance of Negotiations in its entirety.
Thesis documents cross-referenced:
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance, by Carly Bates
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities, by Raji Ganesan
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark,” by Allyson Yoder
Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces alongside each other. Negotiations is not a showcase of three individual works, but a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents here, and we encourage readers to view the performance of Negotiations in its entirety.
Thesis documents cross-referenced:
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance, by Carly Bates
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities, by Raji Ganesan
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark,” by Allyson Yoder
ContributorsYoder, Allyson Joy (Author) / de la Garza, Sarah Amira (Thesis director) / Ellsworth, Angela (Committee member) / DeWitt, Inertia Q. E. D. (Committee member) / School of Film, Dance and Theatre (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Barrett, The Honors College (Contributor) / Hugh Downs School of Human Communication (Contributor)
Created2016-05
Description
Horror as a genre is often dismissed on the basis of its reliance on jump scares and adrenaline highs, but history would suggest that society is just as well reflected in horror films as in any other genre. We only truly know our own experiences in real life, but film grants us the opportunity to see the world through another’s eyes, and what a more powerful way than through the experience of fear. In order to contextualize materials for the creation of a short horror film, the first part of this paper explores horror as a genre and the roles women tend to play in horror, both in the past and the present. It also considers how society perceives threats to women and how women perceive threats to themselves. It is important to define the foundation of women in horror and understand their current role in the genre to achieve the overarching goal of making a short horror film depicting a real issue that women face. A script, a storyboard, a timeline, and other materials for such a production are included as well.
ContributorsPeterschmidt, Bailey Willow (Author) / Mack, Robert L. (Thesis director) / Cheyne, Rebekah (Committee member) / School of Film, Dance and Theatre (Contributor) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
When you think of actors, you probably think of the glitz and glam of Hollywood. It is a career many desire to have because of this initial perception. Who does not want to live the lavish life of an actor? Who does not want to get paid to basically play dress up? The truth is acting is much more, and less, than that. In fact, there are almost no two actors with the same exact journey to where they are. The career itself is very subjective, which is quite the scary thought to many including myself. Since I was a kid, acting is all I wanted to do. However, I have also always been someone who enjoys stability and consistent next steps, which is why I have been terrified at the idea of pursuing acting for so long. It is not a career that guarantees success. It is not even a career that has one definition of success. What is not shown behind the flashing lights and the glamour is what it truly takes to “make it”. Like I said, there are different variations of “making it” as well. Because of this idea that a career in acting is not all one thing, I wanted to find the commonalities. Are there things anyone who wants to be an actor, whether it is theater, film, television, or commercial acting, can do to increase their chances for success? What are the steps necessary to be taken seriously in this industry? In this thesis, I am going to explore the intricacies of this career to try to answer these questions.
ContributorsBrook, Loza H (Author) / Collis, Adam (Thesis director) / Espinosa, Micha (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Executive Summary: Luke Armistead and his crew are seeking investments in the form of cash or assets (i.e. shooting location, drivable car, film equipment, etc.) in order to make “Red Fox Does Not Move”, a short action-thriller. “Red Fox Does Not Move” tells the story of two government agents seeking revenge against Domino Mancini, a violent mob boss. This short film is meant to target U.S. adults, especially those who use YouTube. The action-thriller genre is popular in the U.S. among adults, and since an overwhelming majority of adults use YouTube, the video hosting website is a good place to distribute the film after the private showings. In order to build anticipation for the film, a vlog series detailing production of the short film will be produced in tandem with the film. “Red Fox Does Not Move” is planned to be distributed via film festival (e.g. Sundance, Cannes, AFA, etc.) as well as select local theaters holding local short film showings/mini festivals.
ContributorsArmistead, Luke M (Author) / Melby, Amanda (Thesis director) / Fortunado, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Whether fights to the death, or a masked murderer chasing an unwilling teen, viewers are seemingly drawn to human suffering. This thesis will examine the blurring of lines between traditional horror and crime films to better understand how both films provide a similar experience, as well as apply traditional film theories on pleasurable viewership to both genres, in an attempt to discover viewers’ attraction to the perverse.
ContributorsBenavidez, Markus A (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / School of Criminology and Criminal Justice (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05